Lindsay Anderson

Lindsay Anderson
Born	Lindsay Gordon Anderson (1923-04-17)17 April 1923 Bangalore, British India
Died	30 August 1994(1994-08-30) (aged 71) Angoulême, France
Nationality	British
Education	Cheltenham College, Gloucestershire
Alma mater	Wadham College, Oxford
Occupation	Film director
Years active	1948–1993

Lindsay Gordon Anderson (17 April 1923 – 30 August 1994)^[1] was a British feature-film, theatre and documentary director, film critic, and leading light of the Free Cinema movement and of the British New Wave.^[2][3] He is most widely remembered for his 1968 film if...., which won the Palme d'Or at Cannes Film Festival in 1969 and marked Malcolm McDowell's cinematic debut.^[4] He is also notable, though not a professional actor, for playing a minor role in the Academy Award-winning 1981 film Chariots of Fire. McDowell produced a 2007 documentary about his experiences with Anderson, Never Apologize.^[5]

Lindsay Gordon Anderson was born in Bangalore, South India, where his father was stationed with the Royal Engineers, on 17 April 1923.^[6][7] His father Captain (later Major General) Alexander Vass Anderson^[8][9][10] was a British Army officer who had come from Scotland. His mother Estelle Bell Gasson was born in Queenstown, South Africa, the daughter of a wool merchant.^[11][12] Lindsay was the second son. His parents separated in 1926, and Estelle returned to England with the two boys. In 1932 the couple tried to reconcile in Bangalore, and when Estelle returned to England she was pregnant with their third son, who was named Alexander Vass Anderson after his father.^[11] The Andersons divorced. Estelle married again in 1936, to Major Cuthbert Sleigh.^[11] Lindsay's father remarried while in India. Gavin Lambert writes, in Mainly About Lindsay Anderson: A Memoir (Faber and Faber, 2000, p. 18), that the father Alexander Vass Anderson 'cut (his first family) out of his life', making no reference to them in his Who's Who entry. But Lindsay often saw his father and looked after his house and dogs when he was away.^[13]

Both Lindsay and his older brother Murray Anderson (1919–2016) were educated at Saint Ronan's School in Worthing, West Sussex, and at Cheltenham College.^[14][15] It was at Cheltenham that Lindsay met his lifelong friend Gavin Lambert, who became a screenwriter and novelist, and later the director's biographer.^[11]

The UK had been at war for years when Anderson won a scholarship in 1942 for classical studies at Wadham College at the University of Oxford.^[11] The next year he entered World War II, serving in the Army from 1943 until 1946, first with the 60th King's Royal Rifle Corps. In the final year of the war, he was a cryptographer for the Intelligence Corps, based at the Wireless Experimental Centre in Delhi.^[7]

In August 1945, Anderson assisted in nailing the Red flag to the roof of the Junior Officers' mess in Annan Parbat, after the victory of the Labour Party in the general election was confirmed.^[16] Their colonel did not approve, he recalled a decade later, but took no disciplinary action against the junior officers.

Lindsay returned to Oxford in 1946 but changed from classical studies to English;^[11] he graduated in 1948.^[7]

Anderson was passionate about film and with his friend Gavin Lambert, and Peter Ericsson and Karel Reisz, co-founded Sequence magazine (1947–52), which became influential. Anderson became a prominent film critic.^[11] He also later wrote for the British Film Institute's journal Sight and Sound and the left-wing political weekly, the New Statesman.^[6]

In a 1956 polemical article, "Stand Up, Stand Up" published in Sight and Sound, Anderson attacked contemporary critical practices, in particular the pursuit of objectivity. Taking as an example some comments made by Alistair Cooke in 1935, in which Cooke had claimed to be without politics as a critic, Anderson responded:

The problems of commitment are directly stated, but only apparently faced. …The denial of the critic's moral responsibility is specific; but only at the cost of sacrificing his dignity. … [These assumptions:] the holding of liberal, or humane, values; the proviso that these must not be taken too far; the adoption of a tone which enables the writer to evade through humour [mean] the fundamental issues are balked."^{[16][clarification needed]}

Following a series of screenings which he and the National Film Theatre programmer Karel Reisz organized for the venue of independently produced short films by himself and others, he developed a philosophy of cinema that was expressed in what became known, by the late-1950s, as the Free Cinema movement.^[17] He and other leaders in the field believed that the British cinema must break away from its class-bound attitudes and that non-metropolitan Britain ought to be shown on the nation's screens. Anderson had already begun to make films himself, starting in 1948 with Meet the Pioneers, a documentary about a conveyor-belt factory.^[18]

Anderson was invited to join the British Film Institute's Board of Governors in 1969 with the aim of bolstering support for independent British directors, but left the role after a year.^[19]

Along with Karel Reisz, Tony Richardson, and others, he secured funding from a variety of sources (including Ford of Britain). Each of these founders made a series of short documentaries on a variety of subjects. One of Anderson's early short films, Thursday's Children (1954), concerning the education of deaf children, was made in collaboration with Guy Brenton, a friend from his Oxford days; it won an Oscar for Best Documentary Short in 1954.^[6] Thursday's Children was preserved by the Academy Film Archive in 2005.^[20]

These films, influenced by one of Anderson's heroes, the French filmmaker Jean Vigo, and made in the tradition of the British documentaries of Humphrey Jennings, foreshadowed much of the social realism of British dramatic cinema that emerged in the next decade. These included Reisz's Saturday Night and Sunday Morning (1960), Richardson's The Loneliness of the Long Distance Runner (1962), and Anderson's own This Sporting Life (1963), produced by Reisz. Anderson's film met with mixed reviews at the time, and was not a commercial success.^{[citation needed]}

Anderson is perhaps best remembered as a filmmaker for his "Mick Travis trilogy", all of which star Malcolm McDowell as the title character: if.... (1968), a satire on public schools; O Lucky Man! (1973) a Pilgrim's Progress-inspired road movie; and Britannia Hospital (1982), a fantasia taking stylistic influence from the populist wing of British cinema represented by Hammer horror films and Carry On comedies.^[5]

In 1981, Anderson played the role of the Master of Caius College at Cambridge University in the film Chariots of Fire.

Anderson developed an acquaintance from 1950 with John Ford. Anderson wrote what has come to be regarded as one of the standard books on that director, About John Ford (1983). Based on half a dozen meetings over more than two decades, and Anderson's lifetime study of the man's work, the book has been described as "One of the best books published by a film-maker on a film-maker".^[21]

In 1985, producer Martin Lewis invited Anderson to chronicle Wham!'s visit to China, among the first-ever visits by Western pop artists. Anderson made the film Wham! in China: Foreign Skies. He admitted in his diary on 31 March 1985, to having "no interest in Wham!", or China, and he was simply "'doing this for the money'".^[22] Anderson's own cut of the tour, titled If You Were There, was never released after George Michael objected to this version. It featured only four songs from the tour. Anderson was fired from the project, and Michael turned out the film that was entitled Wham! in China: Foreign Skies.^[23]

In 1986, Anderson served as a member of the jury at the 36th Berlin International Film Festival, by invitation.^[24]

Anderson was also a significant British theatre director. He was long associated with London's Royal Court Theatre, where he was Co-Artistic Director 1969–70, and Associate Artistic Director 1971–75. He directed premiere productions of plays by David Storey, among others.^{[citation needed]}

In 1992, as a close friend of the late actresses Jill Bennett and Rachel Roberts, Anderson arranged a boat trip to scatter the women's ashes in the Thames River. Professional colleagues and friends were also on the boat and musician Alan Price sang the song "Is That All There Is?". Anderson included this event in his autobiographical BBC film Is That All There Is?^{[citation needed]}

Every year, the International Documentary Festival in Amsterdam (IDFA) gives an acclaimed filmmaker the chance to screen his or her personal Top 10 favorite films. In 2007, Iranian filmmaker Maziar Bahari selected two of Anderson's short documentaries, O Dreamland and Every Day Except Christmas (1957), a record of a day in the old Covent Garden market, for his top 10 classics from the history of documentary.[3]

Gavin Lambert's memoir, Mainly About Lindsay Anderson, wrote that Anderson was homosexual and repressed his orientation, which was seen as a betrayal by his other friends.^[25] In November 2006 Malcolm McDowell told The Independent that he believed Anderson was gay, and said:

I know that he was in love with Richard Harris the star of Anderson's first feature, This Sporting Life. I am sure that it was the same with me and Albert Finney and the rest. It wasn't a physical thing. But I suppose he always fell in love with his leading men. He would always pick someone who was unattainable because he was heterosexual.^[26]

Anderson died from a heart attack on 30 August 1994 at the age of 71.

Following the publication of Anderson's diaries and collected writings in 2004 there has been a revival of interest in Anderson scholarship, including several edited collections and monographs addressing his work from a variety of critical perspectives.^[27] The centenary of Anderson's birth in 2023 was marked by special events at the University of Stirling, where the Anderson papers are currently held.

All Royal Court, London, unless otherwise indicated:

• The Waiting of Lester Abbs (Kathleen Sully, 1957)
• The Long and the Short and the Tall (Willis Hall, 1959)
• Progress to the Park (Alun Owen, 1959)
• The Trial of Cob and Leach/Jazzetry (Christopher Logue, 1959)
• Serjeant Musgrave's Dance (John Arden, 1959)
• The Lily White Boys (Harry Cookson and Christopher Logue, 1960)
• Trials by Logue: Antigone/Cob and Leach (Christopher Logue, 1960)
• Diary of a Madman (Gogol adaptation, 1963)
• Box and Cox (John Maddison Morton, 1961)
• The Fire Raisers (Max Frisch, 1961)
• Julius Caesar (William Shakespeare, 1964)
• Andorra (Max Frisch, National Theatre at the Old Vic, 1964)
• The Cherry Orchard (Anton Chekhov, Chichester Festival Theatre, 1966)
• Inadmissible Evidence (John Osborne, Teatr Współczesny, Warsaw, 1966)
• The Contractor (David Storey, 1969)
• Home (David Storey, also Morosco Theatre NY, 1970)
• The Changing Room (David Storey, 1971)
• The Farm (David Storey, 1973)
• Life Class (David Storey, 1974)
• In Celebration (David Storey 1974)
• What the Butler Saw (Joe Orton, 1975)
• The Seagull (Anton Chekhov, Lyric Theatre, 1975); in repertory with
• The Bed Before Yesterday (Ben Travers, Lyric Theatre, 1975)
• The Kingfisher (William Douglas Home, Lyric Theatre 1977, Biltmore NY, 1978)
• Alice's Boys (Felicity Brown and Jonathan Hayes, Savoy Theatre, 1978)
• Early Days (David Storey, National Cottesloe Theatre, 1980)
• Hamlet (Theatre Royal, Stratford East, 1981)

• The Holly and the Ivy (Wynyard Browne, Roundabout New York, 1982)
• The Cherry Orchard (Anton Chekhov, Theatre Royal Haymarket, 1983)
• The Playboy of the Western World (John Millington Synge, 1984)
• In Celebration revival (David Storey, Manhattan Theatre Club, NY, 1984)
• Holiday (Philip Barry, Old Vic, 1987)
• The March on Russia (David Storey, National Lyttelton Theatre, 1989)
• The Fishing Trip (Frank Grimes, Warehouse Theatre, 1991)
• Stages (David Storey, National Cottesloe Theatre, 1992)

• Kitchen sink realism
• Jill Bennett

• About John Ford (1983) ISBN 0-85965-014-6
• Film, Negation and Freedom: Capitalism and Romantic Critique Will Kitchen (2023) ISBN 979-8765105535
• Going Mad in Hollywood and Life with Lindsay Anderson David Sherwin (1996) ISBN 0233989668
• The Diaries of Lindsay Anderson ed. Paul Sutton (2004) ISBN 0-413-77397-3
• Never Apologise: The Collected Writings of Lindsay Anderson (2004) ISBN 0-85965-317-X
• Lindsay Anderson: Cinema Authorship (British Film Makers) John Izod, et al. (2012) ASIN B00SLT0DCC
• Lindsay Anderson: Maverick Film-Maker Erik Hedling (1998) ISBN 0304336068
• Six English Filmmakers (2014) ISBN 978-0957246256 - Anderson and his colleagues in conversation with Sutton.

• Lindsay Anderson – A Celebration^{[permanent dead link]}
• Lindsay Anderson at IMDb
• The Lindsay Anderson Memorial Foundation Archived 18 February 2021 at the Wayback Machine
• Portraits of Lindsay Anderson at the National Portrait Gallery, London
• Watch O Dreamland on FourDocs Archived 23 May 2009 at the Wayback Machine
• The BFI's "screenonline" on Free Cinema Archived 6 March 2021 at the Wayback Machine
• The BFI's "screenonline" for Lindsay Anderson Archived 9 July 2011 at the Wayback Machine
• The Lindsay Anderson Archive at Stirling University, Scotland Archived 20 January 2021 at the Wayback Machine
• Lindsay Anderson Bibliography Archived 8 October 2018 at the Wayback Machine (via UC Berkeley)